So the first couple episodes of “Watchmen” have only hinted at having an actual Watchmen character in it; it took until this episode for the show to confirm, in fact, Jeremy Irons is playing architect of the end of the world and therefor its savior, Ozymandias. He even puts on the costume. And, you know what, he’s not great. He gives a very standard Jeremy Irons performance. You get a little Claus von Bülow in there, maybe a little Simon Gruber, but you don’t get anything special. Some of it’s the part, which is juxtaposed like a subplot but really just escalating asides. What could he be building? Will it be interesting? Blah. Nope. Because you can only get away not being a Republic Serial villain once and “Watchmen” is devoted to its faithful sequel status.
Then the A plot is Jean Smart as Laurie Blake, formerly Laurie Juspeczyk but has since taken rapist dad’s name because… anti-mask pride, also formerly Silk Spectre but now FBI agent, and formerly Dr. Manhattan’s squeeze but now he’s on Mars and she sends him voice mail messages because everyone hopes the god cares but she knows he doesn’t. She’s also got a Dr. Manhattan dildo because
Damon Lindelof does, in fact, suck. Even if “Watchmen: The TV Show” ends up being all right, it could have been better. And it’s a long way from home plate at this point and Smart’s not a good sign. She’s good, but her part’s real thin. There’s some implied subplot about Laurie’s rebound from Dr. Manhattan, Nite Owl, being in prison and presidential candidate James Wolk saying he’ll pardon him out if Smart will go to Tulsa and look into the situation there.
Once she’s in Tulsa, she starts butting heads with ostensible series regulars Tim Blake Nelson and, thought-she-was-the-lead, Regina King. Smart and King’s big blowout scene is good for King, not for Smart, worse for the narrative so therefor not a win for King. King has to suffer through the scene, while Smart’s resignedly all in on her character. “Watchmen: The TV Show”’s Achilles heel is, no surprise, Watchmen. No wonder the first two episodes were Lindelof telling Alan Moore to “fuck off;” because when it actually comes to sequel fan fic, Lindelof’s just as uninspired, obvious, and insipid as everyone else. You can lie all you want Dave Gibbons or Len Wein making Watchmen; the fundamental point of spinning off or sequeling Watchmen is it means Alan Moore doesn’t think you got it.
Lindelof didn’t get it. What’s a shock is how much potential the non-Watchmen: 30 Years Later has going, mostly thanks to King. But also that music, which is excellent again this episode. But mostly King, who gets wasted this episode.
Oh, and Lindelof’s attempt at the Moore-esque anecdote interspersed with the present action?
Well-acted (by Smart) but an utter writing and emphasis fail. Stephen Williams’s direction is not on par with the other two episodes.
With this episode, “Watchmen: The TV Show” shows its hand, potential-wise, which is good for establishing expectations but also disappointing because they could’ve just skipped it and not lost the King, Don Johnson, Nelson momentum.